WINNER OF THE PEN/ JACQUELINE BOGRAD WELD AWARD FOR BIOGRAPHY NEW YORK TIMES BESTSELLER “This book is a must for everyone interested in illuminating the idea of unexplainable genius.” —QUESTLOVE Equal parts biography, musicology, and cultural history, Dilla Time chronicles the life and legacy of J Dilla, a musical genius who transformed the sound of popular music for the twenty-first century. He wasn’t known to mainstream audiences, even though he worked with renowned acts like D’Angelo and Erykah Badu and influenced the music of superstars like Michael Jackson and Janet Jackson. He died at the age of thirty-two, and in his lifetime he never had a pop hit. Yet since his death, J Dilla has become a demigod: revered by jazz musicians and rap icons from Robert Glasper to Kendrick Lamar; memorialized in symphonies and taught at universities. And at the core of this adulation is innovation: a new kind of musical time-feel that he created on a drum machine, but one that changed the way “traditional” musicians play. In Dilla Time , Dan Charnas chronicles the life of James DeWitt Yancey, from his gifted childhood in Detroit, to his rise as a Grammy-nominated hip-hop producer, to the rare blood disease that caused his premature death; and follows the people who kept him and his ideas alive. He also rewinds the histories of American rhythms: from the birth of soul in Dilla’s own “Motown,” to funk, techno, and disco. Here, music is a story of Black culture in America and of what happens when human and machine times are synthesized into something new. Dilla Time is a different kind of book about music, a visual experience with graphics that build those concepts step by step for fans and novices alike, teaching us to “see” and feel rhythm in a unique and enjoyable way. Dilla’s beats, startling some people with their seeming “sloppiness,” were actually the work of a perfectionist almost spiritually devoted to his music. This is the story of the man and his machines, his family, friends, partners, and celebrity collaborators. Culled from more than 150 interviews about one of the most important and influential musical figures of the past hundred years, Dilla Time is a book as delightfully detail-oriented and unique as J Dilla’s music itself.

What is the exact nature of the consumption function? Can this term be defined so that it will be consistent with empirical evidence and a valid instrument in the hands of future economic researchers and policy makers? In this volume a distinguished American economist presents a new theory of the consumption function, tests it against extensive statistical J material and suggests some of its significant implications. Central to the new theory is its sharp distinction between two concepts of income, measured income, or that which is recorded for a particular period, and permanent income, a longer-period concept in terms of which consumers decide how much to spend and how much to save. Milton Friedman suggests that the total amount spent on consumption is on the average the same fraction of permanent income, regardless of the size of permanent income. The magnitude of the fraction depends on variables such as interest rate, degree of uncertainty relating to occupation, ratio of wealth to income, family size, and so on. The hypothesis is shown to be consistent with budget studies and time series data, and some of its far-reaching implications are explored in the final chapter.

In For a New Liberty: The Libertarian Manifesto, Rothbard proposes a once-and-for-all escape from the two major political parties, the ideologies they embrace, and their central plans for using state power against people. Libertarianism is Rothbard's radical alternative that says state power is unworkable and immoral and ought to be curbed and finally overthrown.To make his case, Rothbard deploys his entire system of thought: natural law, natural rights, Austrian economics, American history, the theory of the state, and more.It is relentless, scientific, analytical, and morally energetic — a book that makes an overwhelming case. Indeed, it gave an entire movement its intellectual consciousness and earned Rothbard the titles "Mr. Libertarian" and "The State's Greatest Living Enemy."Society without the nation-state? Rothbard shows that this is the way for peace, prosperity, security, and freedom for all. In the entire history of libertarian ideas, no book has more successfully combined ideological rigor, theoretical exposition, political rhetoric, historical illustration, and strategic acumen. Rothbard poured a lifetime of research and all his intellectual energy into this project and he succeeded in writing a classic.The book is the result of the only contract Rothbard ever received from a mainstream commercial publisher. He was asked to sum up the whole of the libertarian creed. Looking at the original manuscript, which was nearly complete after its first draft, it seems that it was a nearly effortless joy for him to write. It is seamless, unrelenting, and full of life.He cut no corners and pulled no punches. It appeared in 1973 and created a whole movement that set out to crush the political monopoly.In subject after subject, this book is informative, bracing, and challenging. It also features the characteristically clear writing style for which Rothbard is famous, which stemmed from his organized thinking and passionate drive to teach and change the world.The book begins with American history to show that the revolution of 1776 was the most libertarian of any in history. The pastors, pamphleteers, and statesmen who led it held that the state has no rights that the people themselves do not possess. They demanded full liberty, not some truncated version that existed in the old world. In this discussion, the reader comes to appreciate the founders of the United States of America as never before.Rothbard then sets out to rekindle that fire, first through a discussion of the philosophy and ethics of freedom. The central axiom: no man or group of men may aggress against the person and property of anyone else. He justifies the axiom on the basis of natural rights. It is an axiom that has few opponents, until Rothbard spells out its implications: taxation is theft, conscription is slavery, and war is mass murder, among many other points.Bracing indeed! But the state is the primary violator of this simple axiom. It presumes the right to rob and kill while purporting to protect us from robbing and killing. Thus follows a full theory of the state, how it gains and maintains controls over the population (but not through a "social contract"!), the various failed methods for keeping it in check (not even constitutions work!), its operations and tendencies to work its evil (it never has enough power), and how intellectuals become co-opted by the forces of state power.The book is still regarded as "dangerous" precisely because, once the exposure to Rothbardianism takes place, no other book on politics, economics, history, or sociology can be read the same way again.

2016 Reprint of Undated Original Edition [Circa 1965]. Full facsimile of the original edition, not reproduced with Optical Recognition Software. This gives a succinct account of Rothbard's view of the state. Following Franz Oppenheimer and Albert Jay Nock, Rothbard regards the state as a predatory entity. It does not produce anything but rather steals resources from those engaged in production. In applying this view to American history, Rothbard makes use of the work of John C. Calhoun How can an organization of this type sustain itself? It must engage in propaganda to induce popular support for its policies. Court intellectuals play a key role here, and Rothbard cites as an example of ideological mystification the work of the influential legal theorist Charles Black, Jr., on the way the Supreme Court has become a revered institution. A wealth of citations and references supports the basic premise.

What is marriage? Can a relationship dedicated to equality, friendship, and mutual education flower in an atmosphere of romance? What are the paths between loving another and knowing another? Stanley Cavell identified a genre of classic American films that engaged these questions in his study of comedies of remarriage, Pursuits of Happiness . With Contesting Tears , Cavell demonstrates that a contrasting genre, which he calls "the melodrama of the unknown woman," shares a surprising number and weave of concerns with those comedies. Cavell provides close readings of four melodramas he finds definitive of the genre: Letter from an Unknown Woman , Gaslight , Now Voyager , and Stella Dallas . The women in these melodramas, like the women in the comedies, demand equality, shared education, and transfiguration, exemplifying for Cavell a moral perfectionism he identifies as Emersonian. But unlike the comedies, which portray a quest for a shared existence of expressiveness and joy, the melodramas trace instead the woman's recognition that in this quest she is isolated. Part of the melodrama concerns the various ways the men in the films (and the audiences of the films) interpret and desire to force the woman's consequent inaccessibility. "Film is an interest of mine," Stanley Cavell has written, "or say a love, not separate from my interest in, or love of, philosophy." In Contesting Tears Cavell once again brilliantly unites his two loves, using detailed and perceptive musings on melodrama to reflect on philosophical problems of skepticism, psychoanalysis, and perfectionism. As he shows, the fascination and intelligence of such great stars as Ingrid Bergman, Bette Davis, and Barbara Stanwyck illuminate, as they are illuminated by, the topics and events of these beloved and enduring films.

We can't sit under Mises at his famous Vienna private seminar. We can't go back in time and attend his New York seminar, or follow him to his speaking engagements that he held in the 50s and 60s.But thanks to this second volume in a thrilling series (here is volume one), we do have access to what he said. He is warm, funny, passionate, and learned. This book provides a candid look at the man and his teaching style. It demonstrates his dazzling command over the material, and teaches in a breezier way than his treatises.This volume contains nine lectures delivered over one week, from June 23, to July 3, 1952, at the San Francisco Public Library. Mises was at his prime as a teacher and lecturer. He shares a lifetime of learning on topics that were (and remain) central to American public life.As the title indicates, his main focus is on Marxism. He discusses Marx and his place in the history of ideas, the destruction wrought by his dangerous ideology, the manner in which his followers have covered up his errors, and how the Marxists themselves have worked for so long to save Marxism from itself. He discusses Marxist claims about history and refutes the smear of the industrial revolution.The approach is systematic but casual. So the reader encounters wonderful insights in the form of short asides. For example: "The worst thing that can happen to a socialist is to have his country ruled by socialists who are not his friends."As a lecturer, he is steady and relentless. The reader can nearly "hear" him speaking through the prose. And there are times when Mises reveals a level of rhetorical passion that you would never encounter in print. That's because what is printed here are not pre-prepared lectures in the sense that they were written out. They were transcribed by Bettina Bien Greaves from what he actually said.Thus can we hear this passage:It is not true, as Marx said, that the improvements in technology are available only to the exploiters and that the masses are living in a state much worse than on the eve of the Industrial Revolution. Everything the Marxists say about exploitation is absolutely wrong! Lies! In fact, capitalism made it possible for many persons to survive who wouldn't have otherwise.Some readers of Mises's larger works have said that while his rigor is dazzling, the man himself can seem remote. Whether or not you agree with this observation, Mises comes across in these lectures as brilliant but very warm and charming in an old world sense.This approach is particularly fruitful in the last four of the lectures, which cover topics such as savings, interest, inflation, profit and loss, and the place of foreign investment. The lecture on interest rates, for example, must surely rank as one of the best explanations of this complicated topic. He recounts the history of the attempt to suppress interest rates, from the ancient world to the modern period. He explains why this cannot work because interest is merely the objective sign of a phenomenon that is integral to human action. As he moves on to money, Mises reveals himself to be tougher on the issue of fiduciary media than he was when he wrote his 1912 book The Theory of Money and Credit.In response to a question Mises says: "In the future no additional banknotes should be issued, no additional credit should be entered on a bank subject to check, unless there is 100 percent coverage in money."Also not to be missed is Mises's wry defense of "money cranks": at least they were only more consistent than the advocates of Keynesian and monetarism.Mises was clearly pressed for time, so he had to be at once thorough and move quickly through the material. It's still not "light reading" by the normal standards, but for people who want to see a great mind at work, this has a wonderful element of spontaneity about it that attracts and teaches at the same time.